• Journal of architectural history
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• v.8 no.3 s.20
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• pp.65-74
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• 1999

The purpose of this phenomenological inquiry is to suggest a positive direction for Korean architecture to pursue. In order to have the inquiry, we need Heidegger's term, 'World 3.' To discuss works of art and architecture as created is also to discuss such works as creative, that is, as realities which add themselves to the creativity of a world which is never complete except by our going with the venture of creativity, which is in Heidegger's term World 3. Through it, our ground is transformed into an ever changing but ever self-recovering World. If all of this has any fundamental significance for architecture and if this significance cannot be neglected in favor of other considerations, the work of architecture does not enter into the world as a thing of abstraction or concept. Rather, as a venture, as a tension of the 'World 3,' the work of architecture constantly brings about the transformable truth of the world.

• Journal of architectural history
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• v.4 no.2 s.8
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• pp.79-85
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• 1995

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).

• Journal of architectural history
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• v.21 no.1
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.1
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• pp.61-68
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• 2020

The aim of the paper is to verify the hypothesis that 'Deep Contextualism can be applied to architecture,' developed through Stephan Pepper's Contextualism. This hypothesis is verified by Peter Zumthor's architectures. 'Deep Contextualism' has 'the third context' between human and natural context. The third so-called "ready-to-hand" is reactivated according to contingency and creativity in Being, 'Being' is continuously revitalized. It means that quality in 'the third context, or a sense of ready-to-hand is creatively and unceasingly transformed into a new texture by creativity and contingency in Being. Also Zumthor and Heidegger agrees to a sense of ready-to-hand. Through creativity and contingency in Being his architecture widens and deepens. Zumthor's atmosphere is world 4, and his architecture is world 3 which is an embodiment of world 4 or his air.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.51-61
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• 2013

In order to answer the research question of 'how the listed World Cultural Heritage is being managed now?' the indicators of management effectiveness evaluation were set up based on international principles on the basis of the preceding research. The weights and priorities of each evaluation indicators were worked out through the Analytic Network Process(ANP) Technique. Therefore, the evaluation system to evaluate the management status of the World Heritage Sites have been established. Also, through calculate the converted score of 100 points based on the relative importance of these evaluation indicators among the World Heritage Site management effectiveness evaluation index for scoring and the score table was created. When evaluated for the management status of World Heritage Sites to set five rating of the final evaluation score: very deficiency, deficiency, general, good, excellent. According to the results the follow-up study will be carried out in the future.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.221-228
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• 2005

As the development of game graphic technology, games include many characters and various virtual worlds. In this paper we proposed the architecture which can make efficient game world through ontology technology. We applied Gaia theory to this architecture. And this game world can have ecological feedback structure. So we proposed the Gaia game architecture which can increase the interaction between user and game world.

• Journal of architectural history
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• v.6 no.2 s.12
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• Korean Journal of Remote Sensing
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• v.19 no.1
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• pp.71-80
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• 2003

In this Paper, we Propose web-based Media GIS architecture using 3D geographical database and GPS-related data resulted from 45-Van. We introduce a novel interoperable geographical data service concept; so-called, Virtual World Mapping (VWM) that can map 3D graphic world with real-world video. Our proposed method can easily retrieve geographical information and attributes to reconstruct 3D virtual space according to certain frame in video sequences. Our proposed system architecture also has an advantage that can provide geographical information service with video stream without any image processing procedures. In addition to, describing the details of our components, we present a Media GIS web service system by using GeoVideoServer, which performs VWM technique.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.176-183
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• 2000

The purpose of this study is to show the implications of the term "digital architecture," which are realized in the current architecture. To do this, I first observe its theoretical background and then analyze the works of Marcos Novak, Kas Oosterhuis, and Lars Spuybroek, all of whom are called the typical digital architects. In particular, this study tries to show that the digital architects are introducing the non-Euclidean multi-dimensions and the cyberspace and applying the notions of liquid architecture, transarchitecture, body-building, and body-building, and body-motorized system into their works. Finally, I conclude that the digital architecture anticipates the direction of the future architecture, in which the virtual world is merged with the real world, the digital space is realized in the real space, and the human is completely harmonized with nature.th nature.